It’s not that far from Basildon to Glasgow, but Depeche Mode’s journey to gigs such as this one at the Hydro has been a long one. The Essex three-piece have famously shed members, encountered various personal struggles and somehow, come out the other end as the biggest-selling electronic group of all time.
Perfectly at home to crowds of over 60,000, a show at Glasgow’s newest venue is nothing new to the trio (plus additional keys and drums) but still doesn’t stop the band from putting on a stadium-sized show.
David Gahan is an assured frontman, sleazily strutting around like the great entertainers do, a far cry from the four lads with dodgy hair and dodgier jumpers.
The band have a new album in Delta Machine to punt and open with a couple of tunes from this – including ‘Welcome To My World’ an epic, throbbing opener. These show that they’ve lost none of their nous for a darkly engaging tune, but soon we’re onto the back catalogue, following years of revisionism and avoidance of their heritage. ‘Black Celebration’ sees the massive screens flick into monochrome, as if Anton Corbijn was behind the lens, relaying Gahan’s every snake-hipped move to the furthest corners of the cavernous arena.
As well as fully testing the new sound system the band make full use of the audio-visual facilities on offer (now that the SECC will be more in use for conferences), with video of cute puppies on ‘Precious’ contrasting sharply with ‘Should Be Higher’ where flames seemingly lick the roof and the gangways (and doubtless give the venue’s owners flashbacks to the fire which delayed its opening).
For all the emphasis on the band’s gothic and industrial heritage, it’s the ‘acoustic’ segment that creates the most atmosphere among a devoted throng with Martin Gore taking centre stage for a total of three tunes. His vocal, at once rich yet fragile, curiously, conjures up comparisons with former member Vince Clarke’s main collaborator, Alison Moyet. A show-stopping ‘But Not Tonight’ generates a wordless singalong that a slightly lacklustre ‘A Question of Time’ can’t match.
However, it’s the heavier dance tracks that get the crowd up and dancing. ‘Behind The Wheel’ has the hard core fans on their feet while ‘Enjoy The Silence’ see Gahan now striped to the waist, and in full-on rock star mode. A short break for a breath as Gore grinds out the opening riff of ‘Personal Jesus’, Johnny Cash-style, before going full-on into the version that Depeche Mode fans are more familiar with.
Even encore ‘Just Can’t Get Enough’ does engender a mass singalong, possibly (possibly not) helped by Gahan’s waving of a green scarf – I can’t be more specific given my remoteness from the stage, although it does seem an irresponsible act given that young and impressionable Clyde fans may be present.
That aside, closing encores of ‘I Feel You and ‘Never Let Me Down Again’ triumphantly close a mastercraft in stadium pop. Basildon 1980 seems light years away.